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Record the slogans you see on billboards and in other advertising as you go about your daily routine—Prescription Drug Misuse Is a Growing Trend; Forever Engagements; Truth & Honesty: That's the Manfredi Way! Choose one from the list you've gathered and use it as the opening line for a story. 

Visit a museum or an art gallery. While looking at the art, transcribe fragments from the written descriptions and/or titles that accompany each work. Create a poem out of the fragments you've transcribed.

Marge Pellegrino, author, teaching artist, and project manager for The Hopi Foundation’s Owl & Panther project, blogs about P&W–supported programs with refugee families.

When the University of Arizona’s Poetry Center asked me if our families would write poems in response to drawings by Vietnamese children for their upcoming Speak Peace exhibit, I jumped at the chance. Our participants are as young as five and as old as sixty. They’re from Bhutan, Congo, Ethiopia, Iraq, Nepal, and Somalia. Many carry private memories of armed conflict, some the scarcity they experienced in refugee camps. Others still witness a family member's haunting nighttime battles with post-traumatic stress disorder. We had never come this close to addressing their backgrounds directly.

With a grant from Poets & Writers we were able to bring Christopher Mcllroy to work with us and meet the challenge that would allow our refugee families to speak up for peace—and for those brave enough—to talk back to war. McIlroy recently published Here I Am a Writer, stories and poems by Native American students in the Arts Reach Program in Tucson. Mcllroy knows how to inspire. He was willing to coach our volunteers, which included artists, retired social workers, a psychologist, a graphic designer, students, and writers, so they would feel confident in working on poems one-on-one with our clients. He worked with a variety of approaches to address this difficult topic and invited the volunteers to put pen to paper to create their own poems before they started to work with our families.

With this foundation in place, we were ready to get to work with the participants. This was the first time some of our newer clients ever wrote a poem. We invited one of our participants from Ethiopia to choose one of the Vietnamese student’s images and express his response in music. Others wrote poems, then broke their poems apart and put the words back together again in a new order. After three writing sessions we were ready to rehearse. Oh, the poetry! But, also the drama and song!

The resulting performance was, for some, the first time they ever spoke before a group, and certainly the first time they saw themselves on television, when the local public television station’s Arizona Illustrated covered our Speak Peace event. After each workshop and reading, each person was applauded and validated. And, in that space where they wrote and spoke peace, they were, for a time, at peace.

Photo: Tilahun Liben  Credit: Aspen Green

Support for Readings/Workshops events in Tucson is provided by an endowment established with generous contributions from the Poets & Writers Board of Directors and others. Additional support comes from the Friends of Poets & Writers.

P&W–supported poet Michael Cirelli, author of Lobster With Ol' Dirty Bastard, Vacations on the Black Star Line, and Everyone Loves The Situation, remembers his debut book launch in 2008.

In 2008, the crown jewel of P&W support came to me personally. The organization was gracious enough to sponsor my book release party at the Grand Café in Clinton Hill, Brooklyn (since closed). The Grand was one of those magical Brooklyn places where you could run into dozens of writers, musicians, and artists. I could have breakfast with Meshell Ndegeocello and lunch with Toshi Reagon all in the same day.

Just a few weeks ago I ran into the woman who used to own the café and reminisced on what an amazing night it was, one of the best in my life. Not only was my first collection released, Lobster With Ol’ Dirty Bastard, but my guest readers included the longtime P&Wsupported poets Patricia Smith and Willie Perdomo, and the afterparty was deejayed by DJ Reborn (a popular teaching artist at Urban Word NYC). It was truly a memorable night and I was so grateful for P&W's support!

A few months after the book launch, the “debut poets” issue of Poets & Writers Magazine arrived to my Brooklyn home. I had made the debut poets list—I was in the magazine that I’d been reading for more than ten years!

Photo: Michael Cirelli. Credit: NIKE staff.

Support for Readings/Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and Friends of Poets & Writers.

Elizabeth Anderson is the program director at P&W–supported Charis Books and More and Charis Circle, a unique for-profit independent feminist bookstore and 501(c)(3) social justice literary nonprofit hybrid located in Atlanta, Georgia. She is also a writing coach and fiction writer at work on her first novel, "Paradise Park."

What makes your reading series unique?
Charis Books is turning thirty-eight this year. With bookstores continuously closing, we will be the oldest feminist bookstore in North America and the primary LGBT-focused bookstore in Atlanta. Our events have always reflected the old feminist axiom, "the personal is political." We believe that fiction has the power to change the world and that reading can be a revolutionary act. We maintain a deep investment in helping to center voices traditionally at the literary margins.

What recent program have you been especially proud of?
The P&Wsponsored evening with Sassafras Lowrey, editor of Kicked Out, an anthology of work by homeless LGBTQ youth. Sassafras shared her own story of homelessness and talked about receiving one teen's story via text message because the kid didn't have access to traditional modes of journalistic communication. Sassafras opted to publish it in the book with a standard English translation. That anecdote spoke to me about the value of telling our story despite the obstacles.

What’s the craziest thing that’s happened at an event you’ve hosted?
The life of a bookseller is a crazy one. We hear more confessions than priests and doctors. People share. A LOT. Folks come to a reading about how to turn a front lawn into a food producing garden and end up talking about their grandmas who, as it turns out, were from the same small town. By the end of the night, you have complete strangers hugging and smiling and trading recipes and crying over long dead people. That is the wonder of a reading at Charis.

How do you cultivate an audience?
It's about relationships. It's about remembering people's names and tastes. I call people on the phone. I invite people personally via e-mail and on Facebook. If someone buys an author's book, I remember. If that author is slated to read at our store six months later, I make sure to remind the customer. If the independent bookstore is to survive, it will be because of relationships.

How has literary presenting informed your own life?
It has made me a better writing coach: I can tell you exactly the moment at which you will begin to bore your audience (seventeen minutes, don't ever read for more than seventeen minutes straight, I don't care if you sound like James Earl Jones and are the best looking person on the planet, people will start to glaze).

What do you consider to be the value of literary programs for your community?
All writers and readers have the potential to be activists if they choose. Bookstores are gathering grounds. They are the places to come and recharge your batteries or lick your wounds or rebuild after a hard political battle. At Charis, we fight to keep the doors open for our community because we believe there is a kind of grace in the act of gathering around stories no other space in our culture can provide.

Photo: Elizabeth Anderson.

Support for Readings/Workshops events in Atlanta is provided by an endowment established with generous contributions from the Poets & Writers Board of Directors and others. Additional support comes from the Friends of Poets & Writers.

The New York Public Library has announced the five finalists for its twelfth annual Young Lions Fiction Award, given to an emerging writer for a work published in in the previous year. The winner of the honor, which carries a prize of ten thousand dollars, will be announced on May 14.

The 2012 finalists are Teju Cole for Open City (Random House), Benjamin Hale for The Evolution of Bruno Littlemore (Twelve), Ben Lerner for Leaving the Atocha Station (Coffee House Press), Karen Russell for Swamplandia! (Knopf), and Jesmyn Ward for Salvage the Bones (Bloomsbury). Salvage the Bones, Ward's second novel after her breakout, Where the Line Bleeds (Agate Publishing, 2008), won the National Book Award in fiction last fall. Cole's debut was a finalist for this year's National Book Critics Circle Award.

Recent winners of the NYPL's top honor for emerging writers are Adam Levin for The Instructions (McSweeney's Books, 2010), Wells Tower for Everything Ravaged, Everything Burned (Farrar, Straus and Giroux, 2009), and Salvatore Scibona for The End (Graywolf Press, 2008). The award is an program of the library's Young Lions, a group of donors in their twenties and thirties.

In the video below, finalist Teju Cole presents "a sneak peak" into his nascent nonfiction project at Franklin Park bar in Brooklyn, New York.

Choose an article from a magazine that profiles a person, such as a celebrity, a political figure, or a professional athlete. Using one of the settings in the article and a fictionalized version of the person as the main character, write a story in which it is revealed that the main character's greatest strength is also his or her greatest failing.

Travel writer, memoirist, and novelist Mary Morris, who teaches a workshop called The Writer and the Wanderer at Sarah Lawrence College in Bronxville, New York, likes to send her students on field trips to light the creative torch. “I like to get my students out of the house, and a little out of their heads,” says Morris, whose most recent book is the memoir River Queen (Holt, 2007). “Go away. Listen. Eavesdrop. Find something new. Bring back a souvenir. What do you take with you? What do you leave behind? Sit outside in one place until a story comes to you.” Follow Morris's guidance: Go on a field trip of your own, and discover the wanderer within you.

Write a lyric poem titled "Ode to the Girl in the Red Shoes." Read the Poetry Foundation's definition of the ode, for more information.

P&W–supported poet and presenter of literary events Michael Cirelli, executive director of Urban Word NYC and author of Lobster with Ol' Dirty Bastard, Vacations on the Black Star Line, and Everyone Loves The Situation, blogs about Willie Perdomo's teaching style.

Last week I wrote about my journey from Poets & Writers Magazine subscriber to P&W-supported presenter of literary events. I reflected on the “power of Perdomo’s pedagogy,” which compels forty teens to cram into a small office space on a beautiful spring day to write poems. Here's why they write after a long school day...

Working with various teachers, I've come to understand what makes good teachers great. The best teachers “keep it real” with their students and, even more importantly, with themselves. Willie Perdomo is a master of this. He knows what he brings to the table, and by being an active listener, is able to identify the interests, needs, joys, and pains of his students. He meets his students where they are, then helps facilitate their growth. But how do we meet a student where they are, if we don’t acknowledge where we are? Even the “downest” teacher needs to acknowledge the inherent power dynamic of student/teacher.

I’ve seen countless teachers give up because they take things personally or feel alienated by their students. So, really, the best educators find the intersection between themselves and their students, accounting for all of the privileges, challenges, and ignorance that s/he may have. To do this takes constant research, an awareness of your students, and an awareness of your power/privilege. Breaking down these hierarchies, and creating educational experiences that address these experiences, not only ignites a dedication to learning in students, but also provides the platform for teachers to become more human. Willie Perdomo’s P&W-supported workshops at Urban Word NYC embody it all.

Photo: Michael Cirelli. Credit: Syreeta McFadden.

Support for Readings/Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and Friends of Poets & Writers.

The winners of this year's National Book Critics Circle Awards were announced last night in New York City. Among the winners was Edith Pearlman, whose fourth collection of stories, Binocular Vision: New and Selected Stories (Lookout Books), had also been nominated for the National Book Award last year, and went on to win the PEN/Malamud Award.

In poetry, Laura Kasischke won for her collection Space, In Chains (Copper Canyon Press), which recently received the first Rilke Prize from the University of North Texas. Mira Bartók won in autobiography for her memoir, The Memory Palace (Free Press).

Awards were also given in criticism, to Geoff Dyer for Otherwise Known as the Human Condition: Selected Essays and Reviews (Graywolf Press); in biography, to John Lewis Gaddis for George F. Kennan: An American Life (Penguin Press); and in general nonfiction, to Maya Jasanoff for Liberty’s Exiles: American Loyalists in the Revolutionary World (Knopf).

Awards were also given to reviewer Kathryn Schulz, who received the Nona Balakian Citation for Excellence in Reviewing, and Roberts B. Silvers of the New York Review of Books, who won this year's Ivan Sandrof Lifetime Achievement Award.

In the video below, Pearlman reads from her winning collection.

Sarah Browning, director of Split This Rock and DC Poets Against the War, blogs about the P&W–supported Split This Rock Festival in Washington, D.C.

What is a poet to do? The world seems to be exploding around us: The earth is warming at an alarming rate; the right wing attacking the basic human rights of women, LGBT people, and people of color; the rich trying to buy elections; and so many Americans and others around the world suffering from poverty, violence, and repression. How do we keep on writing our poems, telling our stories, perfecting our craft, as this madness rages around us? Split This Rock will offer answers to such questions for the more than 500 poets of all ages who will converge in Washington, D.C., this month to join with others in wrestling these questions to the ground and speak out for another world.

Split This Rock Poetry Festival: Poems of Provocation & Witness, March 22 to 25, will be the third Festival of Poems of Provocation & Witness that we've presented with Poets & Writers' support. The funds from Poets & Writers are helping us bring five of the most visionary voices of our time to the D.C. stage: Sherwin Bitsui, Douglas Kearney, Rachel McKibbens, Jose Padua, and Minnie Bruce Pratt. Other stellar citizen-poets include Homero Aridjis, Kathy Engel, Carlos Andrés Gómez, Khaled Mattawa, Marilyn Nelson, Naomi Shihab Nye, Kim Roberts, Sonia Sanchez, Venus Thrash, and Alice Walker. And, as this will be the tenth anniversary of June Jordan's death, the festival will celebrate and honor the life and legacy of this poet-essayist-activist and teacher.

Panels presented during the festival will address the ways in which “poets (like June Jordan) have been at the forefront of many liberation struggles in the Americas and how poetry has sustained others in their pursuit of social justice.”

White poets who write about race will invite attendees to think about the legacy of slavery and genocide in our country and the ways this history plays out today. Educators will consider strategies for teaching the great diversity of American poetry. And, poets who are organizers for environmental justice will ask, “Who will speak for the river?”

At Split This Rock, we encourage participants to have the difficult discussions they might not have elsewhere and to step outside their self-identified group(s) to attend a reading, workshop, or discussion that might be new to them.  We must talk to one another and read one another's work—across our differences—if we are to figure our way out of the many messes we find ourselves in as a nation.

Friday, March 23, at 4:30 PM, we’ll head to the Supreme Court to use our art form—poetry—to demand that the very rich stop hijacking our national conversation. Money is not speech, the poets will declare in a group poem, created spontaneously on the spot. Poetry is speech!  Please join us!

Photo: Sarah Browning.  Credit: Jill Brazel.

Support for Readings/Workshops events in Washington, D.C., is provided by an endowment established with generous contributions from the Poets & Writers Board of Directors and others.  Additional support comes from the Friends of Poets & Writers.

In her book A Field Guide to Getting Lost (Viking, 2005), Rebecca Solnit discusses the importance of allowing yourself to get lost—both in life and in writing—in order to become more fully conscious. The art of getting lost, she says, "is not one of forgetting but letting go. And when everything else is gone, you can be rich in loss." Write about a time when you got lost—physically, emotionally, spiritually, or otherwise—and how getting lost, and perhaps embracing that loss, resulted in something new being found.

Fill in the generalities with details and use the following to begin a scene for a story: CHARACTER NAME sits at his/her desk in his/her office above Guiliani's Pizza on STREET NAME in CITY NAME. He/she leans down and removes his/her shoes, placing them neatly by the bookcase, then picks up the phone.

During the next week collect images, photographs, small objects, lines of poetry that you've written, passages from other writers' work, snippets of conversations you overhear. Throughout the week put these things in a shoe box or something similar. At the end of the week, sit down and lay out each thing around you. Use the things you've collected as the ingredients for a poem.

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